My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.

I'm cautious about using fire. It can become theatrical. I am interested in the heat, not the flames.

Ephemeral work made outside, for and about a day, lies at the core of my art and its making must be kept private.

People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city.

If you lay in the rain, every rain shower, storm, whatever, is different. Every surface is different.

I can't edit the materials I work with. My remit is to work with nature as a whole.

We often forget that we are nature.